• Journal of Korea Entertainment Industry Association
• /
• v.14 no.6
• /
• pp.43-52
• /
• 2020

This paper is a study of Gustav Deutsch's film (2013). The film transformed the painting of Edward Hopper into an homage film. So it gives the impression that the picture is moving. In this regard, it raises the issue of 'remediation' between film and pictures. In this study, We ask how (2013) dealt with the movement in turning Hopper's paintings into movies. To that end, To this end, we look at two aspects of movement: the actor's movement and the screen's movement. The concepts of "tableau vivant," Agamben's gesture and mediation were used in the process. The actor's movement in the film is not an act of making and developing events. It is a gesture that moves a person's body and expression itself. It is not a story-oriented acting, but a gesture that Giorgio Agamben said. Editing and camera movements are used while maintaining frontality. This suggests that the movement of the screen is the eye of the audience. At first glance, it embodies the voyeuristic gaze of the original work. However, But the audience isn't looking at the image unilaterally, as in mainstream fiction films, but they are also being seen by that image. Also, the camera's movement to take a closer look at the details of the screen shows the movement itself rather than the means to reveal the details. The 'vision of reality' in a film is made through movement. The film questions the vision of reality between painting and film, between words and images. The move is a means of mediating reality, but the film is regaining the "lost gesture" that Giorgio Agamben once said by revealing its mediated nature. This tells us that the vision of reality appears when it obscures its mediated nature.

• The Journal of the Korea Contents Association
• /
• v.10 no.6
• /
• pp.236-248
• /
• 2010

Through this thesis, I analyzed Coen brothers's directing style centering around Crime movies: Blood simple, Barton Fink, Fargo, The man who wasn't thers, No country for old man. About directing style of Coen brothers, plot is an epic depiction, habitual use of narration, refusal of happy ending. They concern subject matters about human original nature and tragedy by greed. And as motifs, they often use misunderstanding, crossing over, chase. Also they likes characters of ordinary people who is destroyed by greed. How about their technical style? They usually use steady-cam and wide lens in camera, and in his early crime movies he used expressionistic lights, but after that they usually used realistic natural lights. About sound, they likes more sound effects than music. Also they directed realistic acting and emphasized actor's personality. Coen brothers has been directed many crime movies and comedy films. But their unique directing style was particularly outstanding in the crime movies

• The Journal of the Korea Contents Association
• /
• v.12 no.4
• /
• pp.143-155
• /
• 2012

The research was started out of curiosity for what made 's fast and trilling pace possible although it is an old movie. The center of what made it possible was its use of the Long Take - Long Take was used in all of the scenes and in some cases only long take was used. What is interesting is the film maker's use of various cinematic techniques to prevent the scene from being too slow and keep the audience immersed in the characters. In one shot, acting in addition to Mise-en-Sc$\grave{e}$ne were used to provide psychological immersion of character and scene. The use of Long Take, with the exception of some intentional scenes, was difficult to notice without conscience observation. All the components that make up Long Take. camera walking and lighting as well as actor's dialog and performance and scene movement all beautifully came together. The Long Take is generally replaced by many different sort shots. However, Mike Nichols clearly demonstrates the benefit of Long Take. In the movie, the general aesthetics from the use of Long Take is slightly altered for a different purpose. The specific methods and effects used in the application of Long Take is the subject of this study.

• The Journal of the Korea Contents Association
• /
• v.21 no.8
• /
• pp.79-88
• /
• 2021

COVID-19 is putting the entire performance industry in a dire situation. One of the approaches to overcome this crisis is contactless performance business using video media. But, these contactless performance videos are now found to have their own issues. First, with the increasing demands for these videos, the need for higher-quality video products is also increasing. However, there are many organizations that cannot afford such an investment. Second, it is not possible to have the same unique experience of a live performance with the videos. 360-degree VR performance videos are now gaining attention as an alternative to cope with this issue. As such, the researcher reviewed the production of 360 VR performance videos in general based on the cases of the play and a children's story concert As a result, the researcher could confirm the three benefits of simulated 'live experience through a sense of reality', 'convenience of filming' and 'continuity of acting'. Also, the issues related to this approach including 'Lack of professional filming companies', 'Expensive viewing equipment', 'Absence of Platform' and 'Limitations of Camera Technology', among others have been identified, etc. Based on these findings, the researcher could propose strategies for improvement in order to utilize 360-degree VR performance videos.

• Journal of Aerospace System Engineering
• /
• v.16 no.3
• /
• pp.99-104
• /
• 2022

Aircraft pylon connects the engine or external stores to the main wing, and transfers the load acting on the pylon to the main structure of the aircraft. In particular, it should perform the function of separating the external store mounted on the pylon in case of emergency or mission performance. At this time, if the separation of the external store is not performed properly due to peripheral air flow or functional problems during the separation process of the external store, it may seriously impact the survivability of the aircraft. For this reason, to apply an external attachment to an aircraft, it is necessary to prove the stability of the external attachment in the separation situation in advance. In this paper, we present the result of the ground separation test performed to confirm that the external fuel tank, which is an external attachment, can be safely separated from the pylon. As a result of the test, the separation movement of the external fuel tank was measured with a high-speed camera, and the stability of the separation of the external fuel tank from the pylon were confirmed through the ground separation test. Additionally, the test result provides basic data for the stability evaluation of the separation of external attachments in actual aircraft.

• Journal of Popular Narrative
• /
• v.27 no.1
• /
• pp.265-299
• /
• 2021

The purpose of this research paper is to facilitate the understanding of the synesthetic aesthetics in the film The Age of Innocence through the intertextuality among the narrative, paintings, and music in the film. In this paper, a two-dimensional intertextual analysis of the paintings in relation to the narrative is conducted on the paintings owned by Old New York, the paintings owned by Ellen, the portraits of unknown artists on the street outside of Parker House, and Rubens' painting at the Louvre. A three-dimensional intertextual analysis of performances in relation to the narrative is conducted on the stages and the box seats at the New York Academy of Music, in which Charles F. Gounod's Faust is performed, and the Wallack's Theatre, in which Dion Boucicault's The Shaughraun is performed. An intertextual analysis of music in relation to the narrative is also conducted on the diegetic and non-diegetic classical music of the film, including Beethoven's Piano Sonata No. 8 and Mendelssohn's String Quintet No. 2, as well as Elmer Bernstein's non-diegetic music of the film. The constituent event of The Age of Innocence represents the passion trapped in the reflection of love and desire that are not lasting, and the supplementary event embodies the narrow viewpoint and the inversion of values caused by the patriarchal authority of Old New York. The characters in the film live a double life, presenting an unaffected surface and concealing the problems behind it. The characters restrain their emotions at both the climax and the ending. The most powerful aspect of the film is the type and nature of oppressive life, which are more delicately described with the help of paintings and music, as there is a limit to describing them only by acting. In intertextual terms, paintings and music in The Age of Innocence continuously emphasize "feeling of emotions that cannot be expressed in language." With a synesthetic image, as if each part were imprinted on the previous part, the continuity "responds to continuous camera movements and montage effects." In The Age of Innocence, erotic dynamism brings dramatic excitement to the highest level, switching between the satisfaction of revealing desire and the disappointment of hiding desire due to its taboo status. This is possible because paintings and music related to the narrative have made aesthetic achievements that overcome the limitations of two-dimensional planes and limited frames. The significance of this study lies in that, since the identification in The Age of Innocence is based on the establishment of a synesthetic aesthetic through audio-visual representation of the film narrative, it helps us to rediscover the possibility of cinematic aesthetics.